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Black History Month 2018
Black History Month 2018 Theme: Artists • This year we will be celebrating Black History Month with a focus on Black artists in the field of fine art, sculpture, architecture • In recent years, the important contribution that black artists have made in all fields of art has been highlighted and DKH we are going to celebrate the significant impact that has been made by black artists in Britain, USA and across the world. • Today, you will have the opportunity to learn about and been inspired by the art of some black artists. There might be a particular artist or form of art you prefer. Be inspired and have a go at creating your own art both at school and at home. •ENJOY OBSERVE ENGAGE REFLECT Michel-Jean Cazabon (September 20, 1813 – November 20, 1888) is regarded as the first great Trinidadian painter and is Trinidad’s first internationally known artist. He is also known as the layman painter. He is renowned for his paintings of Trinidad scenery and for his portraits of planters, merchants and their families in the 19th century. Boscoe Holder (1921-2007) was born in Port of Spain, Trinidad and Tobago. He was Trinidad and Tobago's leading contemporary painter, who also had a celebrated international career spanning six decades as a designer and visual artist, dancer and musician. Jacob Lawrence (September 7, 1917 – June 9, 2000) • He was an African-American painter known for his portrayal of African-American life. Stephen Wiltshire (24th April 1974 • Stephen Wiltshire is a British architectural artist and autistic savant. He is known for his ability to draw from memory a landscape after seeing it just once. -
384 Alain Boulanger, John Cowley & Marc Monneraye This Book Is
384 book reviews Alain Boulanger, John Cowley & Marc Monneraye Creole Music of the French West Indies: A Discography 1900–1959. Holste-Oldendorf, Germany: Bear Family Records, 2014. 367 pp. (Cloth US$61.18) This book is a rarity—a discography that dazzles: one part visual treat, one part meticulous scholarly document. Its publisher, known for lavish boxed sets of rereleased popular music of the past (mostly American and European), took its first major plunge into Caribbean music in 2006 with ten cds of classic Trinidadian recordings from the late 1930s accompanied by a thick, beautifully illustrated book including chapters by several of the world’s lead- ing calypso scholars.1 Though lacking companion cds, the present book makes an equally noteworthy contribution. It began in 2008 as a less elaborate publication with limited distribution.2 The 2014 version, vastly improved, is the only extensive discographic treatment of French Antillean music to date. Drawing on the authors’ personal archives, the audiovisual department of the Bibliothèque Nationale de France, the British Library Sound Archive, and a number of other libraries and private collections, it lists what must be the great majority of commercial recordings of French Caribbean music released (on 78 rpm discs, LPs, and 45 rpm singles) during roughly the first half of the twentieth century. It also includes a handful of “ethnographic recordings” made by linguists, folklorists, and musicologists during this period. The book’s two main components—the discography and historical essay— evidence years of painstaking research, and include, in addition to basic disco- graphic information (names of singers/band leaders and/or orchestras, album and/or song titles, dates, recording locations, labels, and catalog numbers), many valuable details. -
Dancing Postcolonialism
Sabine Sörgel Dancing Postcolonialism TanzScripte | edited by Gabriele Brandstetter and Gabriele Klein | Volume 6 Sabine Sörgel (Dr. phil.) teaches the history and theory of theatre and dance at Johannes Gutenberg-University Mainz. Her current research includes cross- cultural corporealities, contemporary performance and postcolonial theory. Sabine Sörgel Dancing Postcolonialism The National Dance Theatre Company of Jamaica Die vorliegende Arbeit wurde vom Fachbereich 05 Philosophie und Philologie der Jo- hannes Gutenberg-Universität Mainz im Jahr 2005 als Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) angenommen. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Cover illustration: Rex Nettleford, NDTC’s »moving spirit«, co-founder, princi- pal choreographer, and current Artistic Director. Here seen in lead role of »Myal«. Credits: Photographs: cover illustration and pages 100, 102, 103, 110, 112, 119, 131, 175, 176, 177 courtesy and copyright by Maria LaYacona and NDTC ar- chives; page 140 courtesy and copyright by Denis Valentine and NDTC ar- chives; page 194 courtesy and coypright by W. Sills and NDTC archives. All video stills: courtesy -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Michael Kammen Cornell University
The Arts and Public Contestation in American History Presentation for a Symposium at Princeton University’s Center for Arts and Cultural Policy Studies. Oct. 11, 2002 By Michael Kammen Cornell University My purpose in this paper is two-fold. I have attempted to develop a tentative and informal typology of the diverse stimuli and provocations for public conflict in the United States concerning art or “the arts,” very broadly defined. Doing so has involved the compilation of a list of almost eighty contested “episodes” ranging from 1842 to the present and then trying to discern patterns with particular regard for chronology and phasing. I am, after all, a historian by vocation, and consequently the rhythms of periodicity and change seem quite important to me. On the “humanistic side” I have opted to provide mini-narratives for an exemplary selection of these episodes in an effort to illustrate the broad and diverse range of conflicts that have arisen. I have deliberately avoided offering accounts of those conflicts most likely to be familiar to the greatest number of auditors, such as photographs by Robert Mapplethorpe (“The Perfect Moment”) in 1989-91, “The West as America” (1991), and “The Last Act” (the Enola Gay controversy in 1995-96). The case studies I have selected are likely to be familiar to some of you but perhaps not all. In any event, taken together they are certainly representative of the historical diversity of art- related provocations and the kinds that have been most persistent. An approximate “sequence of emergence,” as I see it, acknowledging some important exceptions and deviations, might move along the following lines. -
Art & Design Catalogue 2011
The University of the West Indies The Department of Creative and Festival Arts Fine ARTS Children in war torn countries in spite of their circum- stances play. Play provides a means of escape for them in these harsh conditions. (3.) The ‘war games’ played by political leaders. (By this I do not mean simulation Nikita Alcala of a military operation intended to train military com- manders or to test a proposed strategy. Instead I am War Games trying to draw the similarity in the way in which these Nikita Alcala was born on April 30th 1987. She did leaders seem to use their armies and ammunition as her first year of her BA in Visual Arts in Jamaica their toys along with their powers to ‘play’ war as chil- where she attended both the University of the dren do with the toy soldiers). West Indies, Mona and Edna Manley’s School of Also the use of the toy soldiers contrasts sharply with Visual and Performing Arts. She is currently in her the dominant iconographic notion of children as being final semester of the Visual Arts degree program innocent and in high spirits. There are countless chil- at the University of the West Indies, St. Augustine. dren in countries such as Iraq, Uganda, Afghanistan, Her interest lies in photography and she hopes to Somalia, Rwanda, Libya, Ivory Coast, Iran, Burma and continue her studies in that field. many more who are involved in war as child soldiers or are just caught in the middle, injured physically and The piece is entitled ‘War Games’. -
Left of Karl Marx : the Political Life of Black Communist Claudia Jones / Carole Boyce Davies
T H E POLI T I C A L L I F E O F B L A C K C OMMUNIS T LEFT O F K A R L M A R X C L A U D I A JONES Carole Boyce Davies LEFT OF KARL MARX THE POLITICAL LIFE OF BLACK LEFT OF KARL MARX COMMUNIST CLAUDIA JONES Carole Boyce Davies Duke University Press Durham and London 2007 ∫ 2008 Duke University Press All rights reserved Printed in the United States of America on acid-free paper $ Designed by Heather Hensley Typeset in Adobe Janson by Keystone Typesetting, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. CONTENTS Acknowledgments vii Preface xiii Chronology xxiii Introduction. Recovering the Radical Black Female Subject: Anti-Imperialism, Feminism, and Activism 1 1. Women’s Rights/Workers’ Rights/Anti-Imperialism: Challenging the Superexploitation of Black Working-Class Women 29 2. From ‘‘Half the World’’ to the Whole World: Journalism as Black Transnational Political Practice 69 3. Prison Blues: Literary Activism and a Poetry of Resistance 99 4. Deportation: The Other Politics of Diaspora, or ‘‘What is an ocean between us? We know how to build bridges.’’ 131 5. Carnival and Diaspora: Caribbean Community, Happiness, and Activism 167 6. Piece Work/Peace Work: Self-Construction versus State Repression 191 Notes 239 Bibliography 275 Index 295 ACKNOWLEDGMENTS his project owes everything to the spiritual guidance of Claudia Jones Therself with signs too many to identify. At every step of the way, she made her presence felt in ways so remarkable that only conversations with friends who understand the blurring that exists between the worlds which we inhabit could appreciate. -
Download Issue (PDF)
Vol. 2 No. 2 wfimaqartr f l / l I l U X l U l I Winter 1977-78 ‘ARTISTS IN RESIDENCE': The First Five Years Five years ago, the A.I.R. feminist co-op gallery opened its doors, determined to make its own, individual mark on the art world. The first co-op organized out of the women artists' movement, it continues to set high standards of service and commitment to women's art by Corinne Robins page 4 EXORCISM, PROTEST, REBIRTH: Modes ot Feminist Expression in France Part I: French Women Artists Today by Gloria Feman Orenstein.............................................................page 8 SERAPHINE DE SENLIS With no formal art training, she embarked on a new vocation as visionary painter. Labelled mentally ill in her own time, she is finally receiving recognition in France for her awakening of 'female creativity' by Charlotte Calmis ..................................................................... p a g e 12 A.I.R.'S FIFTH ANNIVERSARY 1 ^ ^ INTERVIEW WITH JOAN SEMMEL W omanart interviews the controversial contemporary artist and author, curator of the recent "Contemporary Women: Consciousness and Content" at the Brooklyn Museum by Ellen L u b e ll.................................................................................page 14 TOWARD A NEW HUMANISM: Conversations with Women Artists Interviews with a cross-section of artists reveal their opinions on current questions and problems, and how these indicate movement toward a continuum of human values by Katherine Hoffman ................................................................... pa g e 22 GALLERY REVIEWS ..........................................................................page 30 WOMAN* ART»WORLD News items of interest ................................................................... page 42 FRENCH WOMEN ARTISTS REPORTS Lectures and panel discussions accompany "Women Artists: 1550-1950" and "Contemporary Women" at the Brooklyn Museum; Women Artists in H o lla n d ...............................................................page 43 Cover: A.I.R. -
American Art Today: Contemporary Landscape the Art Museum at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum
Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 2-18-1989 American Art Today: Contemporary Landscape The Art Museum at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The Art Museum at Florida International University, "American Art Today: Contemporary Landscape" (1989). Frost Art Museum Catalogs. 11. https://digitalcommons.fiu.edu/frostcatalogs/11 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. RIGHT: COVER: Howard Kanovitz Louisa Matthiasdottir Full Moon Doors, 1984 Sheep with Landscape, 1986 Acrylic on canvas/wood construction Oil on canvas 47 x 60" 108 x ;4 x 15" Courtesy of Robert Schoelkopf Gallery, NY Courtesy of Marlborough Gallery, NY American Art Today: Contemporary Landscape January 13 - February 18, 1989 Essay by Jed Perl Organized by Dahlia Morgan for The Art Museum at Florida International University University Park, Miami, Florida 33199 (305) 554-2890 Exhibiting Artists Carol Anthony Howard Kanovitz Robert Berlind Leonard Koscianski John Bowman Louisa Matthiasdottir Roger Brown Charles Moser Gretna Campbell Grover Mouton James Cook Archie Rand James M. Couper Paul Resika Richard Crozier Susan Shatter -
March 2004 2003 – March > October EDITORIAL LET US FIX WHAT NEEDS FIXING
page 1 < STAN newsletter > October 2003 – March 2004 2003 – March > October EDITORIAL LET US FIX WHAT NEEDS FIXING Most of us are overwhelmed by the I have been faced with situations here What about Faculty members who use crime and criminal activity which sur- which I find untenable. Students who their University job as a sinecure and rounds us and engulfs our country. fail their examinations want to argue manage a world of business for personal Last year, one of our students was about their “rights” to run for guild of- gain with little benefit to the Univer- stabbed in a Curepe street not far from fice and to hold guild office. This bra- sity? What about those who do not even The University. A few weeks ago an zenness from students who wish to meet adequately their teaching obliga- alleged rapist was chased by two UWI “lead” the student body but cannot even tions to students? I know that these security guards, held, later identified summon the basic discipline required to are in the minority, but should they be and charged. This means that crime be a student in good standing I find here? is pretty close to home. objectionable. Charity begins at home and even if we We are doing everything within reason What homes and secondary schools do cannot “fix” everything that is wrong to make the campus a safe zone. It is such students as I have mentioned in with our society, we must begin in a quite difficult to control what is hap- this editorial come from? How can they systematic fashion to fix those things pening outside the campus fence. -
Download English Press Release
Victoria Miro Chris Ofili: Poolside Magic Inaugural Exhibition Victoria Miro Venice, Il Capricorno, San Marco 1994, 30124 Venice, Italy Private View 5:30 – 7:30pm, Tuesday 9 May 2017 Exhibition 10 May – 1 July 2017 Victoria Miro is pleased to announce the opening of a new gallery in Venice. The first exhibition at Victoria Miro Venice will be by Chris Ofili. Entitled Poolside Magic the exhibition comprises a suite of pastel, charcoal and watercolour works on paper, which are being shown together for the first time. Poolside Magic, in which a man in coat-tails serves a naked woman beside a swimming pool, riffs on themes of sexuality, mutability, magic and the occult, making reference to the vibrant and sensuous landscape and culture of Trinidad, where the artist lives and works. Source material for the series includes a photograph of Trinidadian artist Boscoe Holder (1921 – 2007) at work in his Port of Spain studio. Opening during the Vernissage for the 57th Venice Biennale, the exhibition marks a return to the city for the artist. Ofili represented Britain at the 50th Venice Biennale in 2003, when he presented his ambitious exhibition Within Reach, and in 2015 a suite of Ofili’s paintings were included in All The World’s Futures, the 56th International Art Exhibition of the Venice Biennale, curated by Okwui Enwezor. Chris Ofili’s exhibition Weaving Magic is at the National Gallery, London from 26 April to 28 August 2017. Victoria Miro’s new gallery will open to the public on 10 May 2017. This will be the gallery’s fourth exhibition space, joining gallery sites in Mayfair and Wharf Road, London. -
NPS Commemorates Anniversary of the WWII Battle of Saipan
Arrowhead Summer 2004 • Vol. 11 • No. 3 fhe Newsletter of the Employees & Alumni Association of the National Park Service Published By Eastern National MARSH-BILLING S- ROCKEFELLER NHP NPS Commemorates Anniversary aurance S. Rockefeller, 94, a of the WWII Battle of Saipan Lchampion of American conserva tion and national parks, died July 11 merican Memorial Park, a park of 1944 led the way to secure Guam in "William Manchester, noted historian in his home in New York City. Mr. A located in the Commonwealth of July and to move up the island chain to and author who wrote his memoir of this Rockefeller was the fourth child of the Northern Mariana Islands (CNMI) Iwo Jima. It also led to the creation of part of the war in the Pacific...suggested John D. Rockefeller, Jr. and Abby North Field on adjacent Tinian Island that most soldiers during the war didn't Greene Aldrich. John D. Rockefeller, and managed by the National Park Ser Jr. was an enthusiastic supporter of vice, hosted the 60th Commemoration where the B-29s, Enola Gay and Bock's know where they were in the Pacific," park-building and historic preserva of the Liberation of Saipan, June 12 Car, took off with their payload of Jarvis said. "The National Park Service tion. The Great Smoky Mountains, through 17. Partners in the commemo bombs for Hiroshima and Nagasaki. wants to correct that with future genera Shenandoah, Grand Teton, Acadia ration were the government of the American Memorial Park in Garapan, tions knowing the significance these and Redwood national parks are tes CNMI and the Arizona Memorial Saipan, was the site for returning VFW islands played in the fight for freedom." timony to his generosity.